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CHAPTER 6
Synthesis Parameters
Synthesis Parameters
REVERB TYPE
This parameter lets you select from among four
different room sizes to create the type of simu-
lation that you want. Room size is decisive be-
cause it determines the density of r oom
reflections, which in turn influences the charac-
ter of the room simulation. In bigger rooms,
sound travels across greater distances than in a
small room, which means that the intervals be-
tween the reflections bouncing off the virtual
walls are also greater. Simulating bigger rooms
requires more delay memory, which leaves you
with less memory available for pre-delay effects
(PREDELAY, see below).
different room sizes to create the type of simu-
lation that you want. Room size is decisive be-
cause it determines the density of r oom
reflections, which in turn influences the charac-
ter of the room simulation. In bigger rooms,
sound travels across greater distances than in a
small room, which means that the intervals be-
tween the reflections bouncing off the virtual
walls are also greater. Simulating bigger rooms
requires more delay memory, which leaves you
with less memory available for pre-delay effects
(PREDELAY, see below).
On the other hand, you can determine the de-
cay time of the room simulation independently
for the room size of your choice. You can select
from among:
cay time of the room simulation independently
for the room size of your choice. You can select
from among:
01111111111111111112
1 REVERB
Type Ambience≤
Type Ambience≤
61111111111111111154
REVERB COLOR
This parameters influences the room’s static
frequency response.
frequency response.
Natural reverb will always have some high-fre-
quency attenuation since the sound bounces
off at least one wall. REVERB COLOR is identi-
cal to DELAY COLOR; here you’re dealing with
quency attenuation since the sound bounces
off at least one wall. REVERB COLOR is identi-
cal to DELAY COLOR; here you’re dealing with
a variable filter that can act as a low-pass filter
(negative control range) as well as a high-pass
filter (positive control range). For a natural-
sounding room simulation, you should always
set REVERB COLOR to a slightly negative value
to dampen the higher frequencies of the room
signal. This will make the effect sound more au-
thentic and the room sound warmer. You can,
however, opt to create interesting artificial-
sounding effects by cutting the lower frequen-
cies radically. To this end, experiment by vary-
i n g t h e h i g h - p a s s fi l t e r w i t h i n R E V E R B
COLOR’s positive control range.
(negative control range) as well as a high-pass
filter (positive control range). For a natural-
sounding room simulation, you should always
set REVERB COLOR to a slightly negative value
to dampen the higher frequencies of the room
signal. This will make the effect sound more au-
thentic and the room sound warmer. You can,
however, opt to create interesting artificial-
sounding effects by cutting the lower frequen-
cies radically. To this end, experiment by vary-
i n g t h e h i g h - p a s s fi l t e r w i t h i n R E V E R B
COLOR’s positive control range.
REVERB COLOR is a static filter, which means
it generates a different effect than that of RE-
VERB DAMPING, where the amount of high-
end damping is a factor of time.
it generates a different effect than that of RE-
VERB DAMPING, where the amount of high-
end damping is a factor of time.
In the signal path. the filter is located at the out-
put of the pre-delay. This means that the filter
also influences pre-delay feedback (REVERB
FEEDBACK, see below) when you use this pa-
rameter.
put of the pre-delay. This means that the filter
also influences pre-delay feedback (REVERB
FEEDBACK, see below) when you use this pa-
rameter.
01111111111111111112
1 REVERB
Color -10≤
Color -10≤
61111111111111111154
REVERB PREDELAY
This parameter controls the pre-delay time of
the given room simulation.
the given room simulation.
In a real room, sound travels quite a distance
and is reflected at least once before it reaches
your ear. This means that a certain amount of
time elapses before you hear the earliest reflec-
tions of the room signal. The bigger the room,
the longer it takes for the reflected signal to
reach your ear. This effect is emulated in a room
simulation be means of a parameter called pre-
delay. Irrespective of the values set for the other
and is reflected at least once before it reaches
your ear. This means that a certain amount of
time elapses before you hear the earliest reflec-
tions of the room signal. The bigger the room,
the longer it takes for the reflected signal to
reach your ear. This effect is emulated in a room
simulation be means of a parameter called pre-
delay. Irrespective of the values set for the other
Reverb Type
Pre-delay
Ambience
with up to 500 ms
SmallRoom
with up to 400 ms
LargeRoom
with up to 300 ms
Resonance
with up to 150 ms